Special Collection (NAMU)

http://courage.btk.mta.hu/courage/individual/n5563?pl

The "Special Collection" of the National Art Museum of Ukraine (NAMU) was established in 1937, and it contains some of the best works of the Ukrainian avant-garde and monumental art. The collection is comprised mostly of paintings and graphics that were considered inappropriate and unacceptable by the regime. They were collected by the secret police over a two-year period from museum in Kharkiv, Odesa, Kyiv and Poltava and were slated to be destroyed. However, they were preserved secretly in the museum, remaining hidden from the public eye during the Soviet period. Many of the artists represented in the collection were either repressed or executed for “formalism” or “bourgeois nationalism,” and many of their names were undeservedly forgotten until the late 1980s.

Lokalizacja

Kyiv 6 Hrushevskogo St.
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Języki

ukraiński

Strona internetowa

http://namu.kiev.ua

Nazwa kolekcji

"Special Collection"

Pochodzenie i działalność kulturalna

The origins of the “Special Collection” can be traced back to 1937-1939, when the NKVD (the Russian abbreviation for the People’s Commissariat for Internal Affairs) collected potentially “dangerous” art works, with the aim to destroy them. These works remained classified through the 1940s, surviving partly due to the outbreak of World War II and efforts by museum workers to preserve these works. Many artworks were lost during the war, while the rest were held secretly in the National Museum’s storeroom. Apart from the secret police, only the museum director and the chief curator knew about the existence of this collection. The store room was in good condition. Thus, the materials remain relatively well preserved, even though no restoration took place during the communist period.

This is an example of creative works that became "oppositionist" because of the state's evolving definition of what was aesthetically acceptable. NAMU’s chief curator defines "cultural opposition" as any kind of cultural activity that deviates from the state's definition of culture, making the category relational, malleable, and dependent on the politics of the era. The collection’s relationship to the communist regime is complicated. On the one hand, many of these artists were supportive of the Soviet project and deeply involved in the avant-garde, yet these artworks were banned for most of the Soviet period, because of the imposition of Socialist Realism as official doctrine in 1934. Works that were "futurist" and revolutionary became "formalist" and "anti-Soviet." While it was possible to differentiate between art that was clearly oppositionist and works that were more neutral and pro-regime, no such distinction was made during the Soviet period. For example, although Vasyl Sylvestrov’s “Pioneer” contained an “ideologically correct” message, the work was banned, as its author was executed during the Great Terror of 1937. The collection demonstrates that the regime's definition of "cultural opposition" was not always consistent, and it was constantly shifting.

Opis zawartości

The initial collection contained 1,747 items, including photographs, paintings, graphics, sculpture, dishes, stock books, decorative and applied arts, crosses, icons, correspondence, and newspapers. During World War II, many of these items disappeared but roughly 400 were preserved. The outbreak of war made the struggle with "internal enemies" and the destruction of these artworks a lesser priority. In 1956, decorative and applied works were transferred to a special museum. As a result, some objects cannot be identified. The current collection contains about 400 items, mostly paintings and graphics. There is also at least one sculpture (by Josephina Dindo). The content of collection has been digitized by the NAMU for its internal use. The language of items is Ukrainian. The catalogue of the collection, with a detailed description of 241 items, has been published and was publicly unveiled on November 4, 2016 at the National Museum of Art in Ukraine. The catalogue may also become available online soon. Among the most prominent artifacts are works by avant-garde painters, including Aleksandra Ekster's “Bridge at Sèvres” (1912), two panels from Oleksandr Bohomazov's “Sawyers” triptych (1926-1929), David Burliuk's “Women of Hot Lands” (1921) and “Merry-go-round” (1921-1928), as well as Viktor Palmov's “Fisherman” (1928) and "Portrait of the painter Vira Lymarenko” (1926).

Zawartość

inne obiekty artystyczne (które nie mogą być sklasyfikowane poprzez inne filtry): 100-499

Zarządzający

National Art Museum of Ukraine

Właściciel(e)

National Art Museum of Ukraine

Zasięg geograficzny ostatniej działalności

międzynarodowy

Zagadnienia

Założyciele

The People's Commissariat for Internal Affairs

Data utworzenia

1937

Miejsce utworzenia

Kiev, Ukraine
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Twórcy zawartości

Wspierający

Istotne wydarzenia w historii kolekcji

Wyróżnione obiekty

Rodzaj dostępu

częściowo niedostępne

Publikacje

Lytvynets, Yuliya. Spetsfond 1937-1939 rokiv: Z kollektsii NKhMU: Katalog. Kyiv: Feniks, 2016.

Riabicheva, Svitlana. Katalog vystavky "Spetsfond" National'nogo khudozhn'ogo muzeyu Ukrainy. Kyiv1998.

Lista przypisów

Anderson, Troels. "Malevich, Kazimir (Severinovich)." In Grove Art Online. Oxford University Press, 1996. Accessed January 30, 2017.

Beskhlebnaya, Natalia. "Malevich's Ukrainian Square." Russian Life, September/October 2016, 46-53.

Bohomazov, Oleksandr Kostiantynovych, Eduard Oleksandrovych Dymshyts, and Kolesnikov Mykhaĭlo Mykhaĭlovych, editors. Oleksandr Bohomazov, 1880-1930: kataloh tvoriv. [Kiev]: Harant, 1991.

Butterwick, James. Alexander Bogomazov, 1880-1930. London: James Butterwick, 2016.

Gorbachev, Dmytro. "Kazimir Malevich and Ukraine." In Ukrainian Art Library. 2005. Accessed January 30, 2017. http://en.uartlib.org/kazimir-malevich-ukraine/.

James Butterwick (London). Time, Forward!: Russian & Ukrainian Art, 1890-1930. London: James Butterwick, 2015.

Kropyvnytsʹkyĭ, Mar'ian, and Tetiana Filevsʹka. Kazymyr Malevych: Kyïvskyĭ period, 1928-1930. Kyiv, Ukraine: Rodovid, 2016.

Lytvynets, Yuliya. Spetsfond 1937-1939 rokiv: Z kollektsii NKhMU: Katalog. Kyiv: Feniks, 2016.

Malevich, Kazimir, and Alan Upchurch. "Chapters from an Artist's Autobiography." October 34 (1985), 25. doi:10.2307/778487.

Melnikova, Y. P. "Teoretychni Pohliady Vrony ta Khudozhno-Estetychni Zasady ARMU." Visnyk KhDADM 6 (2007), 84-90. http://www.nbuv.gov.ua/old_jrn/soc_gum/VKhDADM/2007-6/07mupaba.pdf.

Mudrak, Myroslava. The New Generation and Artistic Modernism in the Ukraine. Ann Arbor, Mich: UMI Research Press, 1986.

Mudrak, Myroslava M. "Why Ukrainian and Why Avant-Garde? An Essay." In Ukrajinska avangarda 1910-1930. Zagreb: Galerye Grada Zagreba, 1990.

Mudrak, Myroslava M. "Malevich and His Ukrainian Contemporaries." In Rethinking Malevich, edited by Charlotte Douglas and Christina Lodder. London: Pindar Press, 2007.

Mudrak, Myroslava M. "Bohomazov, Oleksandr." In Grove Art Online. Oxford Art Online.. Oxford University Press, n.d. Accessed October 28, 2016. http://www.oxfordartonline.com/subscriber/article/grove/art/T009615.

Mudrak, Myroslava M. "Vadym Meller, Les Kurbas and the Ukrainian Theatrical Avant-Garde: Hello from Wave 477." Russian History 8, no. 1 (1981), 199-218. doi:10.1163/187633181x00101.

Myroslava, Mudrak M. "Association of Revolutionary Art of Ukraine." In Grove Art Online. Oxford University Press, 1996.

Noha, Olesʹ, editor. Davyd Burliuk i mystetstvo vsesvitnʹoho avanhardu. Lʹviv: Vyd-vo "Osnova", 1993.

Riabicheva, Svitlana. Katalog vystavky "Spetsfond" National'nogo khudozhn'ogo muzeyu Ukrainy. Kyiv1998.

SHKANDRIJ, MYROSLAV. "REINTERPRETING MALEVICH: BIOGRAPHY, AUTOBIOGRAPHY, ART." Canadian-American Slavic Studies 36, no. 4 (2002), 405-420. doi:10.1163/221023902x00036.

Sokoliuk, Liudmyla, and M. Boĭchuk, editors. Mykhaĭlo Boĭchuk ta ĭoho shkola. Kharkiv: Vydavets' Savchuk O.O., 2014.

Lytvynets, Yuliya , interview by Budz, Kateryna, August 26, 2016. COURAGE Registry Oral History Collection

2020-02-26 14:06:44

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